city of avondale

CITY OF AVONDALE
PUBLIC ART MASTER PLAN
TABLE OF CONTENTS
EXECUTIVE SUMMARY ................................................................................................ 4
PUBLIC ART OVERVIEW .............................................................................................. 5
Public Art Definition .................................................................................................................................. 5
Why Public Art? ........................................................................................................................................ 6
CITY OF AVONDALE ..................................................................................................... 7
Historic Context......................................................................................................................................... 7
Demographics........................................................................................................................................... 7
AVONDALE PUBLIC ART ............................................................................................. 8
Avondale Municipal Arts Committee......................................................................................................... 8
Role of AMAC ........................................................................................................................................... 8
VISION .......................................................................................................................... 10
MISSION ....................................................................................................................... 10
PUBLIC ART PROJECTS IN AVONDALE................................................................... 11
Permanent/Long Term Public Art Projects ............................................................................................. 11
Scale Categories ................................................................................................................................ 11
Application Categories ....................................................................................................................... 12
Temporary/Rotating Art .......................................................................................................................... 12
Community Art Projects...................................................................................................................... 12
Existing Site Projects.......................................................................................................................... 13
Invited Rotating Art ............................................................................................................................. 13
Project Venues........................................................................................................................................ 14
Gateway Projects ............................................................................................................................... 14
Streetscape Projects .......................................................................................................................... 14
Neighborhood Projects ....................................................................................................................... 15
Park and Community Center Projects ................................................................................................ 15
Community-Wide Projects .................................................................................................................. 15
Building Projects................................................................................................................................. 15
Infrastructure Projects ........................................................................................................................ 15
Inclusion Criteria ..................................................................................................................................... 16
Collaboration ...................................................................................................................................... 16
Visibility............................................................................................................................................... 16
Accessibility ........................................................................................................................................ 16
Quality ................................................................................................................................................ 16
Appropriateness to Site ...................................................................................................................... 16
Acquisition Types.................................................................................................................................... 17
Interpretation and Community Education ............................................................................................... 18
ADMINISTRATION ....................................................................................................... 19
Origination............................................................................................................................................... 19
Funding ................................................................................................................................................... 19
Possible Funding Options .................................................................................................................. 19
Documentation of Works of Art............................................................................................................... 20
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Accession Form.................................................................................................................................. 20
Accession Ledger ............................................................................................................................... 20
Catalog Sheet..................................................................................................................................... 20
Artist Information Sheet ...................................................................................................................... 20
Inventory............................................................................................................................................. 21
Maintenance and Conservation .............................................................................................................. 21
Assessment ........................................................................................................................................ 21
Routine Maintenance ......................................................................................................................... 21
Conservation Procedures ................................................................................................................... 21
Deaccession ........................................................................................................................................... 22
Deaccession Criteria .......................................................................................................................... 22
Procedures for Deaccession .............................................................................................................. 22
Using Artwork to Promote Avondale....................................................................................................... 24
Construction Contracts Involving Artists ................................................................................................. 24
GLOSSARY .................................................................................................................. 25
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EXECUTIVE SUMMARY
Avondale’s Public Art Master Plan has been developed by the Avondale Municipal Arts
Committee (AMAC) whose charge is to make recommendations to the Avondale City
Council on all public art policy matters.
This document describes what public art is and why it is important, as well as detailing
the function of AMAC including vision and mission statements.
A working definition of public art is:
Any work of art or element of design, created by visual or public context artists,
that is sited in a public place for people to experience. This can include
installations, murals, outdoor sculptures, or infrastructure such as public fixtures
or furniture and other function elements that are designed and/or built by artists.
Public art is a tool the city can use to help create and enhance the image of Avondale.
It can help create a “sense of place,” by helping to develop an identity to differentiate
Avondale.
Beyond that, the Public Art Master Plan describes potential projects in terms of scale,
application and venue. Finally, the document covers administration, where the
management of Avondale’s Public Art Collection including funding and maintenance are
discussed.
Three important points are:
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The Public Art Master Plan is a dynamic, working document that will be reviewed
periodically by AMAC and amended if necessary and appropriate.
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In order to ensure that public artworks reflect the character, aspirations, and
attributes of Avondale’s residents, AMAC will seek extensive and various kinds of
community input.
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Without intentional plans for the development of public art, it will not happen.
That intentionality must also extend to providing financial resources.
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PUBLIC
ART
Every public or open space within the Avondale City Center is a potential vehicle for public art. Public art should be creatively integrated into streets, parks, plazas, sidewalks, and
street furnishings, in the areas with the greatest concentration of pedestrian activity. It may
be temporary or permanent. When art begins to occupy everyday spaces and forms, such
as paving or utility poles, the urban fabric becomes truly unique and memorable. Public
art may also become instrumental in calling attention to particular sub-areas, structures,
or parks. Employed at various scales and locations and enabled through a number of resources, public art is an integral part of the Avondale City Center Specific Plan.
The elements of urban form that are unique to the Avondale City Center—the storm
drainage/pedestrian pathways, the linear parks, and the Avondale Boulevard “land art”
scheme—are key opportunities to incorporate art into public spaces in a way that is distinctive to the Avondale City Center. These features will come to define the built form of
the City Center and should therefore be distinguished with creative and site-specific art.
Similarly, the streets within the pedestrian retail district have public art woven into the
sidewalks and street furnishings, so they become “moments of delight” that pedestrians
discover as they walk through the area.
Public Art Guiding Principles
• Locate public art within the City Center to give the area a unique identity.
• Create artworks and art programming that encourage frequent and repeated visits to the City Center area of Avondale.
• Integrate public art with new public infrastructure built in the City Center
area, in streets, parks, and other public spaces. Use creative and innovative
approaches, so that public art is a part of the pedestrian environment rather
than a separate freestanding component.
• Cluster public art in the areas that will have the greatest intensity of pedestrian activity - the pedestrian retail area and the linear parks. Locate public
art in places where people wait or linger - bus shelters, seating, and shade
structures.
• Public art in the City Center area should draw on the rich history and
unique features of Arizona and the West Valley.
• Explore the creation of an Art in Private Development Program to enhance
the public areas of private projects.
Avondale City Center Specific Area Plan
Types of Artworks
There are a wide variety of types of art works that can enrich the City Center Area. The text
below describes different types of public art, with photos of each type drawn from around
the country to illustrate the range of possibilities.
Pedestrian-Scaled Artworks
A variety of everyday, essential elements of the urban environment may be venues to incorporate public art into the pedestrian sphere. Elements such as utility hatch covers, paving, tree guards and fences, for example, can become whimsical pieces that turn otherwise
“invisible” elements into points of interest. Projects that transform these essential pieces of
infrastructure enliven the pedestrian experience and invite people to ponder the design and
construction of their environment.
Pedestrian amenities such as transit stops, shade structures, street furniture, drinking fountains, and signage can similarly become media for public art while engaging with passersby. Particularly in an inhospitable climate, exciting shaded transit shelters and seating may
serve to entice pedestrians and thus activate the area’s street life.
“Place-Making” Artworks
Public art may also function on a larger scale, as a landmark or as part of civic buildings or
structures. When art is incorporated into the design of a building—interior or exterior—it
can reveal something about the community, the use of the building, local histories or stories. Public art located on the façade of a building might also expose something about the
structure itself, making the architecture and design more accessible to the community. Not
least of all, art in and around buildings creates a livelier and more engaging environment.
Environmental Artworks
Public Art can be woven into the very fabric of the land, using plant materials, grade
changes, walls, and other site features. Avondale’s unique climate presents an opportunity
for public art to respond to the natural environment and the challenges it presents. Water
harvesting is one strategy that is a fundamental component of the Avondale City Center
plan, and something to which public art can help to call attention. Artists may work in
collaboration with civic architecture, civil engineering and landscape architecture to create
projects that capture and illuminate the local spirit of conservation. Artworks may thus be
commissioned as components of infrastructure projects.
One specific environmental component of the Avondale Sonora Desert landscape is found
in the desert winds. Artists may be commissioned to respond to this simple resource in ways
that both celebrate the local winds and make use of them through sculptural artworks.
Paving
Alice Adams, Sonia Ishii
Alice Adams, Sonia Ishii
Alice Adams, Sonia Ishii
Paving
Oddities and
Uniques
Portland TriMet artist design team
Jack Mackie
Craig Stone
Stacey Levy
Craig Stone
Hatch Covers
Marvin Oliver
Marvin Oliver
Garth Edwards
Seating
Buster Simpson
Michael Davis
Norie Sato
Louise Borgeois
Louise Borgeois
Avondale City Center Specific Area Plan
Transit
Shelters
Kevin Berry
Norie Sato
Nanda D’Agostina
Unknown Artist
Unknown Artist
Dan Corson
Street Banners
and Landmarks
Drinking
Fountains and
Tree Bollards
Mags Harries / Laos Hedjer
Buster Simpson, Laura Sindell
Jack Mackie, Miller & Bryant
Fences
Christian Mollier
Carolyn Law
Deborah Mersky
Civic Buildings
and Structures
Clark Weigman
Jack Mackie with Dick & Fritche
Architects
Nick Lyle / Jean Whitesavage
Deborah Mersky
Cappy Thompson
Cappy Thompson
Dallas Convention Centerartist design team
Avondale City Center Specific Area Plan
Land Art
K. Bernstein
Maya Lin
Beyers
Linear Park
Peter Reiquam
Norie Sato
SITE Archirecture, Jack Mackie
Buster Simpson
Buster Simpson
Water
Harvesting
Parking
Structures
Ned Kahn
Ned Kahn
Michael Spafford
Recommendations for a Public Art Program
Public Art Under the Current Program
The City of Avondale adopted a Public Art Master Plan in November 2006. Its goals include promoting public art in buildings and public spaces, promoting Avondale as an arts
destination, and providing a structured process to acquire public art. The funding for the
program consists of 0.5% of the City’s General Fund monies devoted to capital improvements. The current Avondale funding model will not be adequate to achieve a significant
presence of public art in the City Center area. However some public art can be funded on
an annual basis, and if the pubic art for Avondale is concentrated in the City Center area,
there would be a critical mass of artwork over the 20 year planning period. Suggestions
below show how the limited funds available could be used.
Artists as Design Team Members
In order to integrate art into public spaces and built forms, the City must ensure that artists are members of the design teams for public works projects. This can be a way of using
limited financial resources to provide public art within projects that do not have a separate
public art budget. Artists can be hired by the City for a discrete period of time, or for a
specific project. Artists would need to be incorporated into infrastructure designs team
at the earliest opportunity in order to make efficient use of project program construction
resources. The artist’s role would include making design and materials recommendations
that can be accommodated within the project program. Such recommendations may be,
but are not limited to, design of lighting systems, sidewalk paving and types, water retention systems, pedestrian amenities, way-finding systems, and discrete artworks.
Small Public Art Pieces Built as Part of Infrastructure Projects
Specific infrastructure projects can be called out as artist commission opportunities. Examples of infrastructure projects in the City Center area would include the benches in
the linear park, paving in a pedestrian sidewalk area, or one wall area of a public parking
structure. The City Council or the Avondale Municipal Arts Committee would decide
which project would include a public art component and establish a budget based on annual public art funding available. A base project cost will be line-itemed for use by the artist, and any costs above the base project price would be funded by the Avondale Public Art
Program. In this way the artist’s contribution may be woven into the project design rather
than being a discrete and separate object; and the costs attributable solely to the public art
can be quantified.
Temporary Art Installations
Temporary art installations could be chosen for display in the Avondale City Center’s linear parks. These artworks are typically sculptural, and may be loaned to the City by the
artist; leased to the City by the artist; or leased to the City from galleries to be displayed
for fixed periods of time. To accommodate these displays, the City may need to invest
in thickening the sidewalk or walkway pad in specific designated locations. The costs of
leasing a temporary display are significantly less than acquiring art pieces on a permanent
basis. The limited funds available could be used to lease temporary art installations once a
year in connection with a major community event.
Avondale City Center Specific Area Plan
Entry Markers
Wick Alexandedr
Barbara Grygutis
Portland TriMet artist design team
Portland TriMet artist design team
Art in Basic
Infrastructure
Temporary
Installations
Temporary Installation - various
artists
Temporary Installation - various
artists
Temporary Installation - various
artists
Public Art
in Private
Development
Akio Takamori
Akio Takamori
Opportunities with Greater Resources
Big Moves
Art works on a larger scale will be instrumental as gateways, or markers to the entrance of
the City Center. These works will be more monumental in nature and will require greater
resources, such as grants or an additional funding source. The land art scheme for Avondale
Boulevard is a major opportunity for a large-scale public art endeavor. The land art concept
is a site landscaping plan extending over half a mile in length (approximately 3200 feet)
between I-10 and Van Buren Street. Public art could be located along the entire length of
this land art corridor, and be part of a major gateway statement for this primary entrance
into Avondale. Considerable funding will be required to create a continuous public art
component of this magnitude.
Another opportunity for a big move would be to integrate a connected series of public art
works throughout the linear parks. Linear parks exist in the three quadrants of the City
Center that will experience major new pedestrian-oriented development. The public art
could be a “discovery trail” of art related to a particular theme. It could integrate educational components, and/or features that offer surprise or whimsy.
The other big move opportunity exists within the pedestrian retail areas. Public art could
be developed at every corner, so that it is a “talking piece” every time someone waits to
cross the street. The art could be integrated into sidewalks, poles, or water fountains; or it
could consist of small freestanding pieces that relate to a particular theme and that inspire
discussion.
Designate Existing Public Art Funds entirely to the City Center Area
Avondale currently designates 0.5% of its General Fund for its Public Art Fund. Recognizing that the City Center is an area of special importance, in a central location at a major
gateway, the City could fund “big moves” by designating the entire 0.5% to art within the
City Center area, as a Special District Allocation. This approach has been used in other
cities where there is a conscious policy decision to concentrate public art in a single area so
that it has maximum impact and is enjoyed by the greatest number of people.
Increase Public Art Funding Based on Total Infrastructure Costs in the City Center
Area
The City could increase public art funding to consist of 0.5% of the total capital improvement budget for the City Center area, rather than just basing it on the portion of capital
improvements funded by the General Fund. This would require an increase in development impact fees to cover the additional cost. This requirement could logically be applied
solely to the City Center area, and not in the rest of Avondale, because of the high intensity
of development permitted and the special character that is desired at this central gateway
location.
Requirements for Public Art in Private Developers’ Projects
One other option is for the City to require the inclusion of public art within private development sites, in locations that are visible and accessible to the public. Often the private
sector is more willing to provide funds for public art if the artwork will benefit their own
property. A program would need to be crafted to establish minimum requirements, and
Avondale City Center Specific Area Plan
guidelines would be needed to describe the types of work that constitute “public art.” Minimum funding requirements would need to be established, based, for example, on the cost
of project construction. A designated pool of artists could be selected by the City. City staff
would need to review development proposals to ensure that all requirements are met.
Conclusion
Public art is an essential feature of a lively and engaging pedestrian-oriented district. The
City will need to consider which of the strategies described above should be implemented
when the Avondale City Center Area Plan is adopted. The City could decide on a major
program for big moves; or it could start with the smaller existing program and augment it
at a later point in time.
PUBLIC ART OVERVIEW
Americans have always had “public art.” While the terminology is relatively new, the
concept of public art itself is not.
Public art adorns town squares across this country. Surplus cannons serve as proud
reminders of our history. There are bronze sculptures and stone carvings of every size
and shape signifying countless events. Many pay tribute to civic leaders and founders.
The term public art was recognized when governmental funding of programs occurred.
Initial examples of federal support for public art in the United States occurred during the
1930s with the Works Progress Administration (WPA) and Treasury Section Art
Programs.
With the creation of the National Endowment for the Arts in 1965, the move to fund
public art accelerated. At that time, only a handful of public art programs existed.
Today, numerous programs exist at state and local levels.
Public art is a recognized genre. Just as there are artists that specialize in photography
or clay, there are artists that specialize in public art.
With the maturation of the public art genre and the professional artists who specialize in
that field, Avondale as a city has many tools with which to work. We are no longer
bound only by bronze sculptures of civic leaders, or surplus cannons. The canvas for
public art is the City of Avondale and its palate is limited only by the citizens’
imagination.
Public Art Definition
A working definition of public art follows:
Any work of art or element of design, created by visual or public context artists,
that is sited in a public place for people to experience. This can include
installations, murals, outdoor sculptures, or infrastructure such as public fixtures
or furniture and other function elements that are designed and/or built by artists.
In other words, public art is art that is located in public spaces. It is art that people are
going to encounter on a daily basis in a public sphere as opposed to going to a
museum. It can be freestanding sculpture, murals, or something integrated into a
building or another infrastructure.
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Why Public Art?
Public art is a tool the city can use to help create and enhance the image of Avondale.
It can help create a sense of place, by helping to develop an identity to differentiate
Avondale.
It can inspire. It can create further interest in the arts. Public art can bolster tourism. It
can help us remember.
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CITY OF AVONDALE
Historic Context
Avondale began as a humble stage stop on the Butterfield Stage Run, with a saloon
and general store. During the early 1900’s the post office moved to a site close to the
nearby Avondale Ranch. The post office became known as Avondale, with surrounding
farms and transportation routes leading to the west.
In December 1946, the City of Avondale was incorporated. Each year Avondale and
nearby communities celebrate their colorful past with a parade down Western Avenue, a
carnival and other community celebrations. For many years Avondale was a small
quiet, agriculturally based community, with a significant Hispanic population.
In the last decade the population has become largely urban, swelling to nearly 70,000
people of diverse backgrounds. At total build out, Avondale will have a population of
well over 100,000 persons.
Phoenix International Raceway (PIR) is nationally known and although named after its
larger neighboring city, is actually a part of Avondale.
Demographics
Avondale demographics are a bit of a moving target because the city is growing so
quickly. Using 2005 estimates, the median age in Avondale is 29 years old, as
compared to Goodyear and Litchfield Park where the median ages are older at 36 and
43 years old respectively.
The median household income in Avondale is $54,900. In Goodyear and Litchfield Park
the median household incomes are higher at $66,700 and $82,200 respectively.
For comparison, Phoenix and Glendale both have median ages of 30 years and their
respective median household incomes are $45,400 and $50,000. Scottsdale has a
median age of 40 years with a median household income of $65,400.
The lower median income in Avondale corresponds to the younger median age.
Avondale is comprised mainly of young families unlike Litchfield Park and Scottsdale,
which have much older populations.
The younger demographics and diverse nature of Avondale should be considered when
selecting public art projects.
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AVONDALE PUBLIC ART
Avondale Municipal Arts Committee
On January 19, 2006, the newly established Avondale Municipal Arts Committee
(AMAC) held its first general meeting. They were tasked with supporting the Public Art
Policy and the continuation of thoughtful public artworks in Avondale.
A public art master planning process was initiated in 2006. The process and its
culminating vision, as included in this document, support many of the goals set forth in
the Avondale City Plan 2010.
It is the intent of AMAC to identify and implement public art works that provide
opportunities for memorable places, objects, spaces, and experiences. In keeping with
existing city planning goals, Avondale’s art policy calls for the following:
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Provide public art in buildings and public spaces.
Promote Avondale as an arts destination and a part of the larger West Valley;
using public art as a major attraction for cultural tourism and economic
development.
Provide a structured process to acquire public art through donations of money, or
direct donation of artwork.
Provide for maintenance of public art throughout the city.
Educate the citizens of Avondale and visitors about local culture and history
through art.
Role of AMAC
AMAC is responsible for making recommendations to Council concerning the
acquisition, maintenance, conservation, and deaccession of Avondale’s Public Art
Collection.
To ensure that public art reflects the character, aspirations and sensibilities of Avondale,
AMAC will at various times seek community input from residents, neighborhood
associations, civic leaders, business leaders, and other community leaders.
The process of bringing understanding between artists and the public through public
education should be part of every public art project. Public education must precede,
accompany and follow every installation. A well designed comprehensive community
relations and public information program is a critical component of any successful public
art program. Some components might include:
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Public meetings to discuss proposed work.
Media coverage.
Public lectures and slide presentations on public art.
Public and school tours of public art sites.
Neighborhood involvement and participation in art installations.
Internships in the public art arena for college students.
Signage to accompany new installations.
Video of the progress of fabrication and installation.
Development of a web page for public art.
Publication of interpretive materials on specific works.
Development of a method and process for involving the general public and the
specific neighboring or stakeholder public that would need to give input to the
placement of public art.
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VISION
When selecting public art, AMAC will consider the following goals as guides to the
identification and selection of artists and the process and implementation of artworks.
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Create and enhance the image of Avondale.
Educate citizens about local culture and history, and provide a means to expand
the boundaries of artistic endeavor in keeping with Avondale’s history of creativity
and exploration.
Reflect and express the core community values including cultural and other
diversities, community heritage, and history.
Integrate into all aspects of the community.
Include thoughtful and inclusive community participation.
Insure that the addition of public artworks to the urban landscape be flexible,
timely and relevant in context to the sites, and audiences they address.
Showcase regional, national, and international artists.
Integrate the work and thoughts of Avondale’s design professionals and artists
into the planning, design, and development.
Create distinct places, spaces, and objects, and further Avondale’s unique sense
of place.
Embrace and further Avondale’s image as a city to visit, explore, and enjoy as
well as a highly desirable place to live.
Recognize that public art is an economic tool as well as a cultural one.
MISSION
The City of Avondale is committed to enriching the quality of life and creating a unique
and diverse sense of place through public art.
Specifically, the mission of AMAC is:
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Provide visual art that complements public buildings, parks and plazas.
Create a sense of place which enhances community identity.
Improve the design quality of public infrastructure as well as the visual
environment for the citizens of Avondale.
Pursue funding and resources for public art.
Recommend policies and procedures concerning public art.
Cooperate with existing public and private agencies to develop programs to
further development and awareness of art.
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PUBLIC ART PROJECTS IN AVONDALE
Projects in Avondale consist of two types:
• Permanent/Long Term Public Art
• Temporary/Rotating Art
Permanent/Long Term Public Art Projects
Permanent/Long Term Public Art can involve artists in the design, construction, and
installation of permanent works of art. They are generally site specific, or integrated into
a building or another infrastructure. Purchasing or otherwise acquiring existing pieces
of public art are also possible.
When the City of Avondale provides funds for any permanent art, ownership of the art
needs to be clearly established. This is especially important to consider when utilizing
partnerships where funds for a piece of art are derived from multiple sources.
Works of art will be acquired by the City in accordance with a predetermined selection
process and will become a part of its collection. The scale, application and venue of
these projects will vary, but in general will fall into four categories of scale and seven
categories of application.
Scale Categories
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Intimate provide moments for discovery, surprise, or personal interaction. These
artworks may not be immediately recognizable, but happened upon or engaging
the viewer in an intimate conversation. Examples might include words, poetry, or
pictographs inlaid in functional elements or places, as well as sound and visual
experiences that create moments of pause, reflection, and serenity.
Pedestrian engage at pedestrian scale. This includes all types of media and
experiences that function for and interact with walkers, strollers, cyclists,
rollerbladers, and other pedestrian activities.
Vehicular engage at the vehicular scale. This includes all types, media, and
experiences that function for or interact with auto, motorcyclists, and transit
riders.
Monumental are grand in scale and engage viewers from a distance. Although
these works may also be created to work at an intimate, pedestrian, or vehicular
scale, they are generally most effective when viewed from a distance allowing
understanding of their entirety.
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Application Categories
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Sculptural are three dimensional and free standing in either an indoor or outdoor
setting. They are visually engaging, but not functional, or interactive in nature.
Environmental engage or become the landscape or place. Environmental refers
to landscaping works, earthworks, and aqua works.
Contextual seamlessly engage or integrate within the urban and community
fabric although artistic in intent and application. Examples include artist designed
floors, paving patterns, lighting designs or other integrated works.
Functional provide function for people or place either through application on
existing elements or by becoming functional elements. Examples include seating
components, transit stops, lighting standards, water features, cellular towers,
bridges and water towers.
Serial are repetitious, continuing, narrative, or create culminating or way finding
experiences.
These artworks are viewed as a collection of individual
components, or community punctuations that, when applied in a serial manner,
create an interactive journey through a particular place. Examples include a
series of words on steps that creates a poem or story, or a series of artworks on
a path, sidewalk, or road.
Decorative are applied to an existing situation or place as add-on components.
These artworks embellish or decorate the urban fabric. Examples include artist
paintings on already existing furniture or walls, or application of tile, glass, and
other media to existing surfaces.
Interactive create opportunities for engaging people. Although they may have
visual or auditory stimulation at an independent level, these works are created
with a specific intention for user participation and are most successful during
interaction. Examples include a sound-work that is activated by pedestrian
footsteps on a pathway, or a water feature that invites people to play.
Temporary/Rotating Art
Temporary/Rotating Art are those opportunities that involve artists in the creation of
works that are nonpermanent in intent and application, and do not involve artists in
capital improvement project design team collaboration or the considerations of
integrated or site specific construction.
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Community Art Projects
Existing Site Projects
Invited Rotating Art
Community Art Projects
Community art projects are created specifically for the purpose of education. These
projects provide opportunities for community participation and involvement. They can
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be created by groups of students or citizens (children and adults) as well as
professional artists. There is no need for exceptional expertise to participate in these
projects. Community art projects are dictated by their do-ability and are not so complex
that they deter community participation.
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They may move or be located in multiple locations in the city.
They may be sold at the end of their public display period. (As with all art, careful
consideration should be given to the installation of the projects to insure their
security during public display.)
They may be sponsored by businesses, corporations, or organizations and the
projects/works could be displayed in the general vicinity of the sponsoring party.
Groups outside AMAC can conceptualize and execute community art projects.
AMAC will consider stipends for professional artists involved either directly or as
supervisors of community art projects.
The process of calling for artists or planners for community art projects will be
advertised publicly.
Existing Site Projects
The general characteristics that determine projects which fall under this category are
that these projects will address specific sites determined by AMAC. The site locations
will be determined by the ability of the site to accommodate art as an improving
element. The basic premise of these projects is that they will improve and enhance the
appearance of the sites where they are located.
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As sites are identified, AMAC will solicit project concepts from artists or
organizations.
These projects will not be limited to public space but may be placed in or on
privately owned property.
Artists proposing existing site projects may solicit sponsorship from site owners,
where appropriate.
Invited Rotating Art
Invited rotating art includes temporary exhibits. Sites will be selected based on visibility
and their ability to accept and adequately showcase these projects, both outdoor and
indoor settings will be included.
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Invited rotating art projects are selected by AMAC and may include a jury
process to be determined by AMAC.
AMAC will identify potential sites throughout the city.
As deemed appropriate by AMAC, artists may be paid a stipend or honorarium to
offset costs related to transportation and installation of the work. If AMAC should
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recommend the work be added to the city’s permanent collection, any stipend fee
previously paid to the artist will be applied to the purchase price of the work.
If required, AMAC will actively solicit funding or sponsorship for exhibits and or
sites.
Interpretative information about the artist, artwork, project duration, and an artist
statement will be included at each site.
AMAC may solicit artist entries through a prospectus describing the nature of the
project, budget, concept guidelines, etc., or they may limit or directly select artists
for participation in invited rotating art projects.
Project Venues
AMAC has identified seven types of venues for permanent and long term art
concentration. They are:
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Gateway Projects
Streetscape Projects
Neighborhood Projects
Park and Community Center Projects
Community Wide Projects
Building Projects
Infrastructure Projects
Gateway Projects welcome people to areas. Artworks may be used to enhance the
character and distinction of an area by either marking or defining boundaries and/or
entrances into Avondale, unique/significant districts, and individual neighborhoods.
Gateway Projects offer an opportunity to signify and identify places and enhance,
enrich, and orient the community’s landscape. In addition, Gateway Projects can
target key intersections, bike paths, and trail systems. In general, these projects are
viewed as larger in scale and broader in application.
Primary Scale Categories: Vehicular, Monumental and Limited Pedestrian
Primary Application Categories: Sculptural or Environmental
Streetscape Projects connect people to places. They serve to improve the visual
character, comfort, and circulation ease of the city through exceptional design in
physical amenities such as street furnishings, seating, trash receptacles, lighting,
signage, paving patterns, and plantings. Because many of these amenities are
considered design standards for urban environments, substituting these amenities
as public art projects is neither a mental nor financial leap for decision-makers.
Funds set aside to purchase these amenities can instead be used to create more
aesthetically pleasing and pedestrian friendly features and places.
Primary Scale Categories: Pedestrian, Limited Vehicular and Intimate
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Primary Application Categories:
and Interactive
Sculptural, Functional, Serial, Decorative,
Neighborhood Projects bring people together. These projects will enhance shared
experiences, celebrate community diversity, record community history, identify
unique flavor and authenticity, and create neighborhood distinction. Neighborhood
signage is an example of celebrating a district and designating a neighborhood’s
boundary.
Primary Scale Categories: Pedestrian, Limited Vehicular and Intimate
Primary Application Categories: Sculptural, Functional, Serial, Decorative,
and Interactive
Park and Community Center Projects engage people. Artworks for parks and
community centers will recognize the leisure activities accommodated at individual
sites. Park sites are envisioned as opportunities for artworks that offer tactile
experiences, invite interaction or participation, establish resting places or focal
points, or respond to natural elements or landscape features of the site.
Primary Scale Categories: Pedestrian, Limited Vehicular and Intimate
Primary Application Categories:
Sculptural, Environmental, Contextual,
Functional, Serial, and Interactive
Community-Wide Projects orient people. These artworks will promote the city’s
history, present and future, make beautiful places, ease circulation and way finding,
celebrate cultural diversity and expression, foster community pride, and most
importantly create memorable places and experiences. Memorable places and
experiences provide recollection, further city identity, and orient both residents and
visitors to a sense of place.
Primary Scale Categories: Monumental, Vehicular, Pedestrian, and Intimate
Primary Application Categories:
Sculptural, Environmental, Contextual,
Functional, Serial, Decorative, and Interactive
Building Projects attract people. Distinctive and aesthetically designed buildings
are more desirable and user-friendly spaces. Where possible, public artworks
addressing this area will be included in capital budgets at conception and will include
AMAC as part of the collaborative design team. In general, artworks will be site
specific or integrated into the building and built at the same time as the building.
Primary Scale Categories: Intimate, Pedestrian
Primary Application Categories: Sculptural, Contextual, Functional, Serial,
Decorative, and Interactive
Infrastructure Projects instill pride in people. While infrastructure commonly refers
to public work projects such as roads, power and water systems, and public
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transportation, AMAC encourages a wider definition of the word to include a cultural
infrastructure. Infrastructure elements, components, and projects can be designed
so the value of specific service elements such as storm sewers, water distribution
mains, freeway overpasses, and solid waste transfer stations become pleasing
public symbols of community pride.
Primary Scale Categories: Vehicular, Limited Monumental and Pedestrian
Primary Application Categories:
Sculptural, Environmental, Contextual,
Serial, and Decorative
Inclusion Criteria
The following criteria will be used as standard for all public artists and artworks
considered for inclusion in Avondale’s public art realm.
Collaboration: Projects should promote collaboration between the selected
artist and the City as well as with any other design professionals involved in the
process. This collaboration shall occur from the beginning of the design process.
Visibility: Artworks should be located in areas where residents and visitors live
and congregate, and shall be highly visible to as many of Avondale’s citizens and
visitors as possible.
Accessibility: Artworks should be accessible to all elements of the community
with special consideration given to providing aesthetic experiences for the
disabled. Access shall comply with provisions of the Americans with Disabilities
Act as well as local and state laws.
Quality: Project materials and design shall be of the highest quality to ensure
the enduring character of the artwork and eliminate the need for unusual
maintenance. Artwork deliberately designed to oxidize, change texture color or
shape as part of its original concept and design should have it noted as such in
writing and presented to AMAC as part of the artist’s original proposal.
Appropriateness to Site: Artworks should reflect the uniqueness of Avondale
and be designed with respect to scale, material, and character of the site. The
artwork should take into consideration the immediate host structure or space,
and as appropriate, the surrounding built and natural environment. In addition,
vistas, history of the site and community, social dynamics of the site, and any
future planned neighboring structures and uses should be considered. The
artwork must meet City standards for encroachment on public right-of-ways.
AMAC is responsible for making decisions as to the management, acquisition,
maintenance, conservation, deaccession, and interpretation of the works designated as
part of the Public Art Collection.
Management, maintenance, conservation,
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deaccession are discussed in the administration section. Acquisition and interpretation
are discussed below:
Acquisition Types
Commission refers to the contracting of an artist to create a new original artwork
for a specific site or project that becomes part of the Public Art Collection. Artist
Review Panels may be appointed to evaluate and recommend artists for
commission. In addition to members of AMAC, the panel may include City of
Avondale staff members, the community at large, artists, and members of the
community.
Open Competition or a “Call to Artists” for a specific project may be used in
conjunction with a review panel or in lieu of a review panel. Artists will be asked
to submit evidence of past work, credentials and/or proposals. Calls for entries
for open competition will be sufficiently detailed to permit artists to determine
whether their work is appropriate to the project under consideration.
Limited or Invitational Competition may also be used for a specific project.
Artists shall be invited based on their past work and exhibited abilities to meet the
goals for a specific project.
Direct Selection by AMAC may also be used for a specific project.
Purchase of an existing art work for a project or site may be used in lieu of
commissioned art work, when such a piece meets the goals and objectives for
the site and is available for purchase. Such purchases will be as deliberative as
those for commissioned works of public art.
Loan: From time to time artworks may be placed at an Avondale site on loan.
The artwork would remain the property of the owner or artist. A loan agreement
would be executed that would specify the details regarding the cost of packing,
transporting, installation, insurance and maintenance of the artwork. The loan
agreement shall state a specific term of the loan and the donor must complete a
loan form.
Gift: A gift would be artwork offered to the City of Avondale without direct
financial obligation in assuming legal title. AMAC will develop guidelines and
procedures for accepting such gifts. The donor must complete a Deed of Gift
which stipulates the conditions under which the artwork is transferred to the
ownership of the City. AMAC will select the appropriate location for the artwork
and consider the liability issues associated with the artwork, including
susceptibility to damage, danger to the public or other special considerations.
Consideration shall be given to the cost of installation and to the care and
maintenance of the artwork.
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Interpretation and Community Education
Each piece of public art will have documentation that describes the access, lighting,
identification, public information, publications and other materials necessary for the
public to enjoy and embrace the art work.
Interpretation refers to the manner and methods by which information about the artwork
is shared. The City of Avondale and AMAC have a responsibility to see that a minimum
level of interpretation relating to all artworks owned by the city is conveyed to the public.
This includes:
Physical and Visual Access: The artwork must be in a location that is easily
accessible to the public. Public buildings, shrubbery, signs, or other natural or
man-made features or structures must be maintained and must not impede
access physically or visually to the artwork.
Lighting: As appropriate, the artwork shall be illuminated so that it can be seen
at night.
Identification: The artwork should be clearly identified in writing, including title,
artist, date, donor (if applicable), and any other information deemed appropriate.
A label, plaque, sign, or other means of communicating such information should
be installed in close proximity to the artwork, though its design must be sensitive
so that it does not detract from the artwork itself.
Public Access to Information: Accurate and up-to-date records on all artworks
will be maintained in the office of the City Manager. Such records will be
available to the public by appointment. Whenever possible, information about
artworks will be posted on relevant websites.
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ADMINISTRATION
Origination
The second goal in the FY04-05 City Council’s goals was to “provide quality of life
options and opportunities in the community.” The council furthered that goal with a
specific objective to “establish an Arts and Culture Committee and explore funding
options for public and performing arts.”
It was decided that an amount equal to 5% of the current level of General Fund support
to the Capital Improvement Plan (CIP), which would result in initial funding for Public Art
of $100,000 and would reduce funding for the CIP by that amount.
The meeting on July 18, 2005 also recommended that an art committee be established
and used to develop a public arts program and administer the program with staff
support.
It was further recommended that this committee have a role of recommending projects,
design concepts or specific purchases, as well as placement of the art.
Funding
The Avondale City Manager’s Office will be directly responsible for the acquisition,
maintenance and recommended funding of public art as part of the annual operating
budget to the City Council.
The funding will be based on the 5% amount appropriated to the general CIP beginning
July 1 of each fiscal year. Any additional funds secured through grants, foundations or
other sources to the Public Art Program shall be held in a dedicated, interest-bearing
account for the program or project. Unspent funds will be carried over. Expenditure of
funds will be authorized and processed through the City Manager’s Office according to
the City’s rules and procedures.
Possible Funding Options
Without intentional plans for the development of public art, it will not happen. That
intentionality must also extend to providing financial resources. Possibilities include:
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Hotel room tax percentage for public art.
Parks/Greenway bond funds with a percentage for public art.
All public development include a percentage of project cost for public art.
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Allocate a percentage of a specific revenue stream to public art, i.e. a portion of
the residential rental privilege use tax.
Grant and foundation funding.
Public/Private partnerships.
Private business development required to pay a percentage of project cost to a
Public Art Fund (legislature considering barring this option for cities).
Documentation of Works of Art
Once a work of art is accessioned into the Public Art Collection, it will be the
responsibility of AMAC to create documentation for the work of art. The City Manager’s
Office will be responsible for the safekeeping of all hard copy and electronic
documentation. The documentation for every accessioned work of art will consist of an
accession form, accession ledger entry, catalog sheet, artist information sheet, and
inventory records; it may also include other relevant records such as a photograph of
the work, materials record, loan agreement, deed of gift, copyright agreement,
deaccession worksheet, conservation records, and other historical records.
Accession Form
Specifically identifies the artwork as well as artist contact information.
Accession Ledger
When a work of art is accessioned into the collection, it will be assigned an
accession number by AMAC. The format for the number will be two-parts,
consisting of the year accessioned followed by the numerical order accepted for
that year. For example, the accession number 2005.1 would be used for the first
work of art accepted in the year 2005. The accession number will be marked in a
reversible manner on an inconspicuous place on the work of art. The accession
number will be placed on all records related to the work of art. Each work of art
will be registered into the accession ledger, listing the accession number, title,
artist, date, medium, and location of the work of art.
Catalog Sheet
A catalog sheet will be created for every accessioned work of art. The catalog
sheet provides descriptive information about the work of art.
Artist Information Sheet
The artist will complete an Artist Information Sheet once the work of art is
accessioned into the collection.
The Artist Information Sheet includes
information about the artist and about fabrication, installation, and the care of the
artwork.
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Inventory
In conjunction with condition assessments, AMAC will periodically conduct an
inventory of all works of art in the collection.
Maintenance and Conservation
The acquisition of art, especially artworks acquired in public trust, entails a legal and
moral commitment to long-term stewardship. AMAC, under the administration of the
City Manager’s Office, assumes this on-going responsibility.
Assessment
AMAC will conduct a periodic survey of the Public Art Collection. A Condition
Report will be completed for each artwork. Completed Condition Reports will be
filed in the individual file for each object. The survey will serve as the basis for
prioritizing maintenance and conservation needs of the collection. A report shall
be prepared upon the completion of the survey summarizing maintenance and
conservation needs. This report shall be submitted to the City Council.
Routine Maintenance
Routine maintenance will be conducted by AMAC, or a designee. Artists must
submit an Artist Information Sheet for each artwork acquired by the City of
Avondale. Such information sheets will detail specific maintenance requirements
that must be followed. AMAC must approve any deviation from the routine
maintenance. A record of routine maintenance must be filed in each artwork’s
individual file.
Conservation Procedures
Conservation Treatment Proposals: All treatment proposals, bid acceptances,
bid approvals, and conservation treatments must be administered by the City
Manager’s Office and approved by AMAC. Proposals shall be filed in the
appropriate individual files.
Conservation Treatment: Any conservation treatment carried out on the Public
Art Collection of the City of Avondale will be carried out by or under the
advisement of conservator(s) who abide by the American institute for
Conservation Code of Ethics.
Conservation Treatment Reports: The treating conservator will document in
writing any treatment carried out on artwork(s) from the Public Art Collection.
Such reports will be filed in the appropriate individual files.
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Photographic Documentation: Conservation reports will include photographic
documentation of the object before, during, and after treatment. All photographs
shall be labeled, dated, and filed in the appropriate individual files.
Deaccession
Deaccession is the process of permanently removing an artwork from the collection.
This process must be cautious, deliberate, and scrupulous. Standards applied to
deaccession must be just as stringent as those applied to acquiring works of art. The
City of Avondale must be certain that it has clear title to any object being considered for
deaccession.
Because of the seriousness of the process, all applications for
deaccession must be reviewed by AMAC and approved by the Avondale City Council.
Deaccession Criteria
Any object being considered for deaccession must meet at least one of the
following criteria:
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Outside of the scope of the collection.
Endangers public safety.
In such poor condition that restoration is impossible or will render the work
false.
Damaged and repair is financially unreasonable (because the cost
exceeds the current market value of the artwork) or is unfeasible in the
judgment of an independent conservator.
The security of the artwork cannot be guaranteed.
No longer exists because of theft, accident, or an act of God.
Requires excessive maintenance or has significant faults of design or
workmanship.
Proved to be fraudulent, not authentic, or in violation of existing copyright
laws.
Not displayed and no plans exist for future display.
Significant changes in the use, character, or design of the site where the
work is displayed prohibit its continual display.
Procedures for Deaccession
In-house Review
The City Manager’s Office will make recommendations to AMAC for deaccession
after in-house review. This process will include:
• A review of acquisition records (accession forms, donor forms, artist
information sheets, etc.) which may be pertinent. The City Attorney or
other legal staff must be consulted to review Legal contracts.
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A dialogue with the artist or donor of an artwork about the concerns that
prompted the review. When possible, the artist or donor will be notified in
writing before an artwork is recommended for deaccession.
The receipt of a written opinion from an independent professional (curator,
conservator, historian, architect, engineer, art historian, etc.) qualified to
make a recommendation on deaccession.
Review of written correspondence, media coverage, or other evidence of
public opinion, if applicable.
Submission of a completed “Deaccession Worksheet” which details the
recommendations to the Committee.
AMAC Review.
AMAC will review the City Manager’s Office recommendation for
deaccession. Specific issues to be reviewed include:
• Have reasonable efforts been made to resolve the problem(s) that led
to the recommendation for deaccession so that deaccession will not be
warranted?
• Do alternatives exist for the long-term disposition of the artwork short
of deaccession? If, after review by AMAC, the artwork is deemed
appropriate for deaccession, a formal recommendation will be made to
and approved by the Avondale City Council. Such recommendation
will include a copy of the completed Deaccession Worksheet for the
artwork, plus a written statement from AMAC confirming its support of
the City Manager’s Office recommendation.
Options for Disposition
Whenever possible, the artist or donor will be notified of plans for deaccession
and given first option of acquiring the artwork through purchase, trade, or other
means. Should the artist or donor not wish to acquire the artwork, one of the
options listed below must be recommended.
• Sale (public auction, sealed or open bid)
• Trade
• Loan to another institution
• Donation to another institution
Disposal or Destruction Costs
The City of Avondale will be responsible for all costs involved in removal,
relocation, and/or destruction unless the artist, donor, or other individual or
institution acquiring the artwork agrees to assume such costs.
Profits
Any profits from the sale of artworks by the City of Avondale must be credited
toward future acquisitions of art and/or care and conservation.
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Documentation
A copy of the completed Deaccession Form and other project documents must
be kept on file in the City Manager’s office.
Using Artwork to Promote Avondale
When possible, information on the City of Avondale’s Public Art Collection shall be
made available to the public in the form of press releases, brochures, leaflets, website
information, etc.
Any work of art held by Avondale via any method, whether permanent/long term or
temporary/rotating art, will include an agreement granting the city permission to
photograph or scan images of the art work for the following purposes:
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Archival
Publicity and Promotion
Publication
Web page
Brochures
Film or Television programs published, produced or sponsored by or with the
permission of AMAC and the City of Avondale
Construction Contracts Involving Artists
When an artist is engaged in a project involving other contractors, such as a general
contractor, the contracts should specify that a contractor will be working with an artist.
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GLOSSARY
The following definitions are included to provide a better understanding of this
document.
Accession: The procedure followed to log in, designate, and incorporate an artwork or
art place into an art collection.
Acquisition: The inclusion of an artwork or art place in a permanent art collection
whether through a commission, purchase, gift, or other means.
Art Concept: An idea or concept, whether realized or not, developed by an artist,
artists, or a collaboration of design professionals.
Art Project: An identified site or sites where an identifiable type of artwork or art place
will be installed, its estimated budget, and time schedule for completion. Usually the
individual artwork or art place will not have been identified.
Art Place: A space designed by an artist, working alone or in collaboration with other
design professionals, to create a place of unified aesthetic.
Artwork: A tangible creation by an artist.
Art Community: A community of artists and art-related individuals and professionals.
Artist Review Panels: Individual panels formed to select artists for recommendation to
the Committee. These panels are formed for a limited period of time to review works of
artists for specific projects. They are generally disbanded once artist selection is
complete.
Cityscape: Term used to describe the unique character of a city as expressed through
its culture, built environment, natural environment, Public Art, open spaces, streets,
people and neighborhoods. It could also be called the landscape or visual character of
the city.
Commission: The contracting of an artist to create an original artwork that becomes
part of the Public Art Collection.
Contract or Agreement: A binding, legal document by which parties agree to perform
certain services.
Construction Drawings: Blueprints and drawings, which indicate the technical aspects
of an installation of artwork or other Cityscape elements.
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Deaccession: The removal of artwork or art place from permanent display, whether it
is disposed of or not.
Design Collaboration: Projects created through the coequal, cooperative design
efforts of design professionals, such as artists, architects, and landscape architects.
Design Professionals:
individuals professionally trained in design, such as
architecture, landscape architecture, art, graphics, and urban design; also graphic,
industrial, interior, and clothing design.
Gift: Artwork offered to and accepted by the City of Avondale without direct financial
obligation in obtaining legal title.
Jury: A group of people, often experts, selected to decide the winners and award the
prizes in a competition.
Maquette: A usually small preliminary model (as of a sculpture or building).
Operating Budget: The portion of Avondale’s annual budget dedicated to providing
ongoing programs and services for the citizens.
Permanent Installation: Artwork or an art place which has a permanent site as
opposed to a temporary site.
Portable Art Works: Artworks which are intended to be rotated from place to place.
Preliminary Drawings: The conceptual drawings or sketches which the artist uses to
help design the proposed artwork. Drawings may or may not be used in a final work.
These are especially applicable to two-dimensional works and generally serve as the
maquette.
Proposal Drawings: These drawings show the specific plans of the artist for the
project and what should be submitted to the Committee for review.
Public Art: Any work of art or element of design, created by visual or public context
artists, that is sited in a public place for people to experience. This can include
installations, murals, outdoor sculptures, or infrastructure such as public fixtures or
furniture and other function elements that are designed and/or built by artists.
Public Art Master Plan: Document prepared by AMAC and approved by the Avondale
City Council that outlines Public Art programs, projects, procedures, priorities and
funding strategies to be followed over a period of time.
Public Places: All privately or publicly owned spaces, indoor or outdoor, which are
generally accessible to the public.
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Purchase: Artwork acquired through the direct financial obligation of the City of
Avondale or its designated representative that becomes part of the Public Art Collection.
Scale:
A proportion used in determining the dimensional relationship of a
representation to that which it represents.
Site Specific: An installation designed specifically for a particular place at a specific
time.
Venue: The scene of any event or action.
Visual Arts Professionals: Those persons trained in some medium of the visual arts
or an activity pertaining to the visual arts, such as a visual artist, an art critic, collector,
arts superintendent, or a curator.
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